28세의 정숙(🎾)은 북(🎐)괴(📒) 대남첩자로(📝) 침투했(🚛)다가 한 애국(🏩)시민의(🎢) 신고로 체포(⬅)된다. 대공분실 정경(🅾)감은 정숙이 철저한(👠) 정신적 무장속에서(⛩)도 따듯한 피가 흐르(🚴)고 있는 여성임을 발(💝)견하게 되고 구(🍒)원을(🎺) 결심하다. 한편(📓) 정숙(🙃)은 침투 현장 답(⌚)사 중(〽) 뜻하지 않았던(🛷) 교통사고를 당하게(🐪) 되고, 정겸감(🔴)의 배려(🥕)로 종합병원(🔥)에 입원(👶)하게 된다. 병(🍺)원생(💆)활(✍)에서 자유의(🔳) 소중함(🦔)을 깨닫게 되(🎒)고, 환자(💰) 중 축구선수(♟) 이찬에게 연정도 느(♊)끼게 된다. 퇴원이 임(🕕)박한 날 밤, 저격범에(🍩)게 저격당한 정숙은(😉) 저격범이 이미 죽은(⛑)줄 알았던 자신(🏧)의 남(🚰)편임을 알고 그(🌻)들의(😿) 잔인함과 악랄(👏)함을(🐩) 다시 느낀다. 그(🔙)녀는 위선과 허위로(🐼) 걸쳤던 그 위(🚁)장의 옷(🎏)이 얼마나 무(📔)가치 하(🖤)고 바보스러(♏)웠던(😒)가(🈚)를 절감하고(🙎) 옷을 벗(🗜)는다. (출처 : 시(🧖)나리오(🍡))
一对(duì )刚结(🥘)婚的夫(fū )妇被德古(👮)拉(lā )绑架，丈夫被司(🛷)机带走，阴(yīn )茎被切(🥡)除，把这个器官(guān )交(📷)给一个巫(wū )婆。新娘(🚖)的父母雇了一(🎱)(yī )名(🧜)侦(zhēn )探来寻找(📮)她(tā(🍿) )们。德古拉(lā )强(👅)奸了(🍂)被绑(bǎng )架的新(✊)娘，然后出去兜风，发(👪)现了卡罗(luó(🔖) )尔。他认(📑)为(wéi )她就是(🕧)他要(yà(🛷)o )找的人。他(tā(🐯) )让司(👋)机(🍡)给她(tā )一枚(🌾)戒指，然(🍎)后用戒指把(🎚)她(tā )带(🌗)到自己的(de )巢(🏦)穴，后来(lái )他改变了(🏠)对(duì )卡罗尔的看(kà(📒)n )法，来到被绑着的侦(🐶)探面前(qián )，宣告他永(🧛)(yǒng )恒的爱。
阿(ā )茂是(🔺)市政府(fǔ )清潔(🏫)工人(🌃)，為人憨直善(shà(🌰)n )良。某(🐇)日，匪徒(tú )意外(🍖)地將(🥞)糧(liáng )款袋掛在(🥝)阿(ā )茂的垃圾車(chē(😔) )上。茂下班時(💡)見袋，但(🎛)因匆(cōng )忙赴(🛏)女友琳(🗞)(lín )琳之約，乃(⭐)(nǎi )不(😊)經(🎁)意將之(zhī )置(🍨)放床下(🔇)。茂至琳琳家(📞)做客，向(📄)琳母提(tí )親(💆)，琳母要(yào )送女家六(💇)十(shí )桌酒席。茂(mào )為(🌷)了儘早解(jiě )決六十(😣)桌酒席費用，和同房(📲)(fáng )阿福往找兼(jiān )職(🐪)，二人做(zuò )收租(📜)員，按(😚)(àn )址收租，發現(🍾)原來(😒)全是(shì )大檔(dà(🕷)ng )，色情架步(bù )……
Probably the most controversial of Woolley's films, because of an audio rape sequence with flashes of nudity that split critics and viewers (especially feminists) right down the middle –(📬) some saying it was exploitative, others saying it was essential to get the formalist message (that we are all voyeurs in the cinema, often viewing at the expense of women) across. The film tells the tale of a housewife (who we never totally see, but can hear) trapped in her luxury house at the mercy of a husband and ruthless police team investigating an illusory political crime that she may or may not have committed. Her husband (the only character we see in a conventional manner) comes in and out of the story and alternates between patronising solicitousness and cold anger. The whole is constructed around a relentlessly repetitive sequence of shots that, in the course of the film, moves ten times from wide shot exterior to intimate interiors, with the story being updated and narrated every time we return to the exterior. In each sequence, there is one POV handheld shot that varies and is usually from the wife's point of view; otherwise the story is told within the confines of the repeating images (same framing and camera movement) with only the action varying. Voiceovers narrate and reflect on a woman's position, as well as dominant male perspectives, in society.
In 1910, in the State of Paraíba, Brazil, a man is expelled from his own land by the ruthless colonel who owns the sugar mill. He asks some outlaws to help him retrieve his land.
「五毒天羅」是(🍰)武林至毒(dú(🆓) )之物，失(😲)蹤多年後重(🎚)現武(🍂)林(🚅)(lín )。武當派門(🕵)(mén )下弟(🥍)子飛英(yīng )雄(🔩)（岳華(⏲)）和飛英傑(🚋)（王鍾(🌭)）兄弟下山(🏹)查究，英雄(xióng )途中遇(🕤)五毒(dú )教教主之女(🍷)(nǚ )素素（井莉(lì )）(🦔)，暗生情(qíng )愫。素素為(🖼)保五毒天羅誤傷(shā(🏜)ng )英傑。武林(lín )大(🍈)會中(📛)，英(yīng )傑認出殘(👑)害(hà(🚥)i )自已的兇手，竟(🚠)是兄長(zhǎng )心愛(ài )的(🌋)女人，英(yīng )雄晴天霹(💁)靂(lì )，不知所(🐆)措(cuò )…(🚂)…